Often in my free time I ponder a hypothetical ranking of the greatest albums of my lifetime or my favorite albums of all time. One quality that would run through all these recording is inclusiveness. By this, I mean the experience of becoming engulfed by an album, almost lost in it. It is its an environment onto itself. And it is for this reason that we listeners return to it. After a few listeners, we become to recognize the world as unique and different. It becomes a place that we can always return to.
Allow me to ponder the initial getting lost. It is a blissful confusion. With every song, more features of the landscape are revealed. Every sound contributes to the distinctiveness. For example, an album that I find myself returning to often is U2's The Unforgettable Fire. Released in 1984, this album carries no sense of nostalgia for me. I do not harken back to time that it was released with fond memories. Instead, it takes on a timeless feel for me. It exists in its own musical landscape, not dependent on what came before it nor what followed it. Going into it, I attempted to construct some context in my head: 1980's U2 equals the time when they were still an "alternative band". They were part of the great group of pioneering alternative/indie acts. Also on this list are giants like R.E.M. and The Smiths. Nevertheless, I gave this album a listen with an open mind. Quickly the guitar playing of The Edge found on this album filled the space in my head. Also, the musical environment created by the complete band on this album drew me in. I characterize it almost storm like. Even thing is heavy and has depth. Whether it is the rhythm section of Adam Clayton and Larry Mullen Jr. or the thoughtful lyrics passionately sung by Bono. I just picture clouds gathering. And I feel that is what the band did on this album. They brought all they had together. Most importantly part of this was the aforementioned guitar playing of The Edge. To stay with the storm motif, each effect-heavy riff is like lighting striking. And just as lighting striking in the summer, these riffs are nothing short of awe inspiring. I invite all of you to get lost in this storm.
Another album I get easily lost in actually does relate to the time and place in which it came into my life. That escape is Coldplay's 2008 album Viva La Vida or Death and All His Friends. This album came out Summer 2008. I bought it in June of that summer when I got home from Boy's State. I drove to my local Target, bought it, and gave it a listen on the ride home. I would continue to listen to that album as I drove around New England that summer. For me, its sounds and symphonies are synonymous with a blue summer sky. This association is also aided by the spacious soundscapes which comprise this album. Based on my reading Coldplay took their time with this album. There was a lot of thought behind it. For example, the recorded it in an old bakery the band bought. On the wall they either wrote "Think Sgt. Peppers" or had a picture of that album. Either way they were inspired by that Beatles masterpiece. That mindset is reflected in the songs. I describe them as wide with plenty of space for a listener to fit in. The production for the album places each of the individual instruments in their own sphere, as if they were individual planets in a solar system. The listener is album to be in the presence of all of them at once. Truly, when I listen to it, I feel that I am in the heavens.
In the case of both these albums, I feel that there is a carved out spaced in the album for the listener to possess. Originally I was going to use the word settle instead of possess but in the case of some albums, the listener is unable to settle or get comfortable. And that is part of the experience. It is part of the getting lost. Overall, this experience of confusion I dub getting lost, is a welcoming in to a place that is unknown and strange, but soon the mysteries are revealed. It is because of this revelation and the desire for more of them that we listeners return to our favorite albums. We can find that spot that we first occupied while getting lost. Except this time, it is more familiar; it feels like a place we can return to.
Wednesday, August 15, 2012
Wednesday, August 8, 2012
A Review of The New Mumford & Sons Song "I Will Wait"
There certainly has been a lot of anticipation for anything new from Mumford & Sons following the huge success of the 2009 groundbreaking album Sigh No More. For it was an album that did a lot to open the door for the modern folk revival. Countless folk bands and acts have become recognized and celebrated because of songs like "Little Lion Man" and "The Cave". Going into this sophomore album, the question has been whether Mumford would stay true to the sound that gave them success or would they seek out a new sound.
Now second albums are always key. For there is just something magical about the unexpected success of a debut album. It will take everyone by storm and temporarily overtake the musical landscape. In the case of bands like The Beatles and Nirvana with their debut releases, they never relinquished their control. Sigh No More was deep enough of an album that it continues to last. However Mumford & Sons correctly assessed their situation and recognized that they needed to release new material if they were ever going to take the steps to being a band like The Beatles or Nirvana.
The new album is named Babel and it will come out in late September. In order to appease their anxious audience, a lead single entitled "I Will Wait" was released yesterday. After giving it a few lessons, I have my own assessment of it. Personally it struck me as everything that was great about "Little Lion Man" and "The Cave" with small doses of progress. What I mean by this is that Mumford & Sons are growing and transitioning. But they are taking their time with this expansions. In this single, the expansion is small but meaningful. Similar to the two aforementioned tracks, this song just drives (it does not hurt it that the clip for this song is movement down a road"). The instrumentation is saturated with an up-beat tempo. At times it all comes together with every instrument firing on all cylinders. Sometimes, an acoustic guitar is the strongest instrument and no note sounds sad. Instead they ring of triumph. Helping to communicate a message coming out of contemplation. When Mumford declares "I will wait" the piano being struck in addition to the guitar are his biggest source of support. They show that song will go on even during this serious moment. After all, that is what this is a song. I feel that Mumford & Sons recognize this and have fun with it. On Sigh No More, I found that some of the songs were a little slow or drawn out for continued listening. I could only return to them after a period of time. But with a song like "I Will Wait" I enjoy the journey every time.
I cannot say that the rest of Babel will be like this, but I am certainly more intrigued to find out because of this song which showcases the promise of one of today's premiere bands.
Please enjoy,
Nick Howard
Now second albums are always key. For there is just something magical about the unexpected success of a debut album. It will take everyone by storm and temporarily overtake the musical landscape. In the case of bands like The Beatles and Nirvana with their debut releases, they never relinquished their control. Sigh No More was deep enough of an album that it continues to last. However Mumford & Sons correctly assessed their situation and recognized that they needed to release new material if they were ever going to take the steps to being a band like The Beatles or Nirvana.
The new album is named Babel and it will come out in late September. In order to appease their anxious audience, a lead single entitled "I Will Wait" was released yesterday. After giving it a few lessons, I have my own assessment of it. Personally it struck me as everything that was great about "Little Lion Man" and "The Cave" with small doses of progress. What I mean by this is that Mumford & Sons are growing and transitioning. But they are taking their time with this expansions. In this single, the expansion is small but meaningful. Similar to the two aforementioned tracks, this song just drives (it does not hurt it that the clip for this song is movement down a road"). The instrumentation is saturated with an up-beat tempo. At times it all comes together with every instrument firing on all cylinders. Sometimes, an acoustic guitar is the strongest instrument and no note sounds sad. Instead they ring of triumph. Helping to communicate a message coming out of contemplation. When Mumford declares "I will wait" the piano being struck in addition to the guitar are his biggest source of support. They show that song will go on even during this serious moment. After all, that is what this is a song. I feel that Mumford & Sons recognize this and have fun with it. On Sigh No More, I found that some of the songs were a little slow or drawn out for continued listening. I could only return to them after a period of time. But with a song like "I Will Wait" I enjoy the journey every time.
I cannot say that the rest of Babel will be like this, but I am certainly more intrigued to find out because of this song which showcases the promise of one of today's premiere bands.
Please enjoy,
Nick Howard
Thursday, August 2, 2012
A Review of "George Harrison: Living in the Material World"
Up until this point on The Forum, I have only shared my thoughts on music. But today I was blessed with the opportunity to watch the Marin Scorsese documentary George Harrison: Living In The Material World, for I have had a hold on it this entire summer at Easton's Ames Free Library and finally it was my turn with the DVD. Over three hours later, I am filled with thoughts regarding the film and I feel that The Forum is the place to share them.
Now, I have watched my fair share of music related documentaries in my day. Typically I watch one about artists that I already know a lot about and I want that information presented to me in a new and exciting way which highlights the elements from the narrative that mean the most to me. One of the best I have ever seen at accomplishing this feat was Tom Petty- Runnin' Down A Dream. This film, also succeeds in this aim. The film is broken up into two parts. Not surprisingly, the first part is heavily focused on George's time in The Beatles. However, Scorsese does highlight Harrison's family and upbringing. Also each episode within the narrative of The Beatles receives a proper amount of attention. I did get a little nervous during the part about The Beatles time in Hamburg, Germany. I feared that Scorsese was not going to spell out the band dynamic at the time. But slowly he highlighted how at that time the band had an extra guitar player named Stuart Sutcliffe and Pete Best on drums. Also at that time, the band befriended two Germans named Klaus and Astrid. Eventually Stuart would start dating Astrid and take up painting. Ultimately he would stay in Hamburg with Astrid. I approve of Scorsese's portrayal of this period in The Beatles career. From there, he brings the focus on and off of George as the band grew and changed. He almost checks in on George's individual footsteps as The Beatles marched on toward taking their final walk across Abbey Road. Part one concludes with the recording of "While My Guitar Gently Weeps". Not too much longer into Part Two, The Beatles break up.
From there, the part of the film which would make or break it commences: Harrison's life as an individual, both musically and personally. There have been thousands of hundreds of books/movies written and made about The Beatles. The reason that this film was so high anticipated was because it was about George. The film does a fabulous job of tracking Harrison's budding individuality. The first chapter in this process comes early in Part Two while still a member of The Beatles. During a band trip to India, Harrison gets turned onto Hinduism. As the film correctly notes, he never gets turned off and continues his spiritual search. If a person wanted information about the spirituality of George Harrison presented in an attainable way, this film is the perfect choice. I was pleased with how Scorsese communicated this complicated yet captivating aspect of Harrison's character. His post-Beatles music career also receives such treatment. Phil Spector is brought in to speak about his involvement with Harrison's first solo record All Things Must Pass. The rest of his work from the 1970's is explored. Countless friends and fellow musicians are brought in for commentary. Overall that is a strength of the film; the people who knew George best speaking about George. For example, Paul McCartney, Pattie Boyd, Eric Clapton, Ringo Starr, and Tom Petty all contribute to the narrative. Truly George's circle of friends came together to celebrate his life.
Unfortunately, in that celebration there was a shortcoming in regard to the coverage of events after 1980. The shooting of John Lennon does flush out the feeling Harrison had about how John left his body. It was very interesting to learning that aspect of the murder of Lennon so troubled Harrison. However, the film seems rushed after that to reach the unfortunate death of Harrison. I do not know if Scorsese felt that his film was going to be too long, but a I feel that a little more attention should had paid to Harrison's 1987 album Cloud Nine. It is regarded as one the best of his later career. In addition it spawned his time in The Traveling Wilburys, another topic skimmed through. Lastly, the mid-1990's reunion of Harrison, Starr, and McCartney is not even mentioned in the movie. Only clips are briefly incorporated.
Despite this, the film ends in a concluding fashion. The film wraps up by covering three final events in his life. The first is his cancer diagnosis. A clip is seen of Harrison expressing his desire to a reporter of not wanting it to be a big a story. Second comes the attack on Harrison home in which he was stabbed and his wife Olivia was also attacked. Lastly, Harrison passes on. Olivia speaks of the passing by saying "that if the event were to be filmed, there would no need for lighting because he light up the room". The film ends and that sentiment transcends. Ending the movie with that statement works well for achieving the aim of the movie: capturing the essence behind George Harrison. After watching the movie, I do not feel that it could better be put into words. He was a man so concerned with knowing God rather than simply believing. Because of this film I can say the same about George Harrison.
Please enjoy,
Nick Howard
Now, I have watched my fair share of music related documentaries in my day. Typically I watch one about artists that I already know a lot about and I want that information presented to me in a new and exciting way which highlights the elements from the narrative that mean the most to me. One of the best I have ever seen at accomplishing this feat was Tom Petty- Runnin' Down A Dream. This film, also succeeds in this aim. The film is broken up into two parts. Not surprisingly, the first part is heavily focused on George's time in The Beatles. However, Scorsese does highlight Harrison's family and upbringing. Also each episode within the narrative of The Beatles receives a proper amount of attention. I did get a little nervous during the part about The Beatles time in Hamburg, Germany. I feared that Scorsese was not going to spell out the band dynamic at the time. But slowly he highlighted how at that time the band had an extra guitar player named Stuart Sutcliffe and Pete Best on drums. Also at that time, the band befriended two Germans named Klaus and Astrid. Eventually Stuart would start dating Astrid and take up painting. Ultimately he would stay in Hamburg with Astrid. I approve of Scorsese's portrayal of this period in The Beatles career. From there, he brings the focus on and off of George as the band grew and changed. He almost checks in on George's individual footsteps as The Beatles marched on toward taking their final walk across Abbey Road. Part one concludes with the recording of "While My Guitar Gently Weeps". Not too much longer into Part Two, The Beatles break up.
From there, the part of the film which would make or break it commences: Harrison's life as an individual, both musically and personally. There have been thousands of hundreds of books/movies written and made about The Beatles. The reason that this film was so high anticipated was because it was about George. The film does a fabulous job of tracking Harrison's budding individuality. The first chapter in this process comes early in Part Two while still a member of The Beatles. During a band trip to India, Harrison gets turned onto Hinduism. As the film correctly notes, he never gets turned off and continues his spiritual search. If a person wanted information about the spirituality of George Harrison presented in an attainable way, this film is the perfect choice. I was pleased with how Scorsese communicated this complicated yet captivating aspect of Harrison's character. His post-Beatles music career also receives such treatment. Phil Spector is brought in to speak about his involvement with Harrison's first solo record All Things Must Pass. The rest of his work from the 1970's is explored. Countless friends and fellow musicians are brought in for commentary. Overall that is a strength of the film; the people who knew George best speaking about George. For example, Paul McCartney, Pattie Boyd, Eric Clapton, Ringo Starr, and Tom Petty all contribute to the narrative. Truly George's circle of friends came together to celebrate his life.
Unfortunately, in that celebration there was a shortcoming in regard to the coverage of events after 1980. The shooting of John Lennon does flush out the feeling Harrison had about how John left his body. It was very interesting to learning that aspect of the murder of Lennon so troubled Harrison. However, the film seems rushed after that to reach the unfortunate death of Harrison. I do not know if Scorsese felt that his film was going to be too long, but a I feel that a little more attention should had paid to Harrison's 1987 album Cloud Nine. It is regarded as one the best of his later career. In addition it spawned his time in The Traveling Wilburys, another topic skimmed through. Lastly, the mid-1990's reunion of Harrison, Starr, and McCartney is not even mentioned in the movie. Only clips are briefly incorporated.
Despite this, the film ends in a concluding fashion. The film wraps up by covering three final events in his life. The first is his cancer diagnosis. A clip is seen of Harrison expressing his desire to a reporter of not wanting it to be a big a story. Second comes the attack on Harrison home in which he was stabbed and his wife Olivia was also attacked. Lastly, Harrison passes on. Olivia speaks of the passing by saying "that if the event were to be filmed, there would no need for lighting because he light up the room". The film ends and that sentiment transcends. Ending the movie with that statement works well for achieving the aim of the movie: capturing the essence behind George Harrison. After watching the movie, I do not feel that it could better be put into words. He was a man so concerned with knowing God rather than simply believing. Because of this film I can say the same about George Harrison.
Please enjoy,
Nick Howard
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